FLOWCHARTS

I discuss the politics, aesthetics, and philosophy of networks, data, and algorithms,
yet these artworks inevitably dig into the very mechanics of financial vehicles,
intellectual property, political science, privacy policies, semantic studies, and art
itself. These are the subsystems I utilize through a range of strategies, including
performance, hacking, documentary, institutional critique, utopia, social innovation,
and appropriation. Consequently, the nature of the material, subjects, and tactics
I implement makes these artworks actively engaged in discussing the opportunities
and oppressions within contemporary society.
Either with simple provocations or recontextualization, or with sophisticated
interventionist, participatory, or speculative models, my artworks have an agenda
that I strategize when I program the flow of information, operations, and interactions
between my targets, audiences, and myself. Information flows within and around
society always have a degree of social and cultural impact; as such, my works often
embody agency that extends from mere representation. They create and inspire
change, reaction, and inquiry through proactive, subversive, and informative art.
These artworks are social agents probing and interacting with the subject matters
and their systems. I believe that the advancement in art through my work is the
programmable reality I can insert into a particular network and the extensive reach
such action can have today. Toward this end, I chart, create, and execute operational
and functional systems meant to produce outcomes for social constructivism or
critique. Society became my material while the flowcharts of conceptual models and
algorithms became my medium.
With a lifelong pursuit of advancing modes of conceptual art, my work has been
dedicated to exploring an aesthetics of social complexity, discussing and modelling
the paradigms of the information order forming society and social knowledge.